Антон Чехов - The House with the Mezzanine and Other Stories

My father introduced the style into my sister's life. To begin with, he gave her the name of Cleopatra (and he called me Misail). When she was a little girl he used to frighten her by telling her about the stars and our ancestors; and explained the nature of life and duty to her at great length; and now when she was twenty–six he went on in the same way, allowing her to take no one's arm but his own, and somehow imagining that sooner or later an ardent young man would turn up and wish to enter into marriage with her out of admiration for his qualities. And she adored my father, was afraid of him, and believed in his extraordinary intellectual powers.

It got quite dark and the street grew gradually empty. In the house opposite the music stopped. The gate was wide open and out into the street, careering with all its bells jingling, came a troika. It was the engineer and his daughter going for a drive. Time to go to bed!

I had a room in the house, but I lived in the courtyard in a hut, under the same roof as the coach–house, which had been built probably as a harness–room—for there were big nails in the walls—but now it was not used, and my father for thirty years had kept his newspapers there, which for some reason he had bound half–yearly and then allowed no one to touch. Living there I was less in touch with my father and his guests, and I used to think that if I did not live in a proper room and did not go to the house every day for meals, my father's reproach that I was living on him lost some of its sting.

My sister was waiting for me. She had brought me supper unknown to my father; a small piece of cold veal and a slice of bread. In the family there were sayings: "Money loves an account," or "A copeck saves a rouble," and so on, and my sister, impressed by such wisdom, did her best to cut down expenses and made us feed rather meagrely. She put the plate on the table, sat on my bed, and began to cry.

"Misail," she said, "what are you doing to us?"

She did not cover her face, her tears ran down her cheeks and hands, and her expression was sorrowful. She fell on the pillow, gave way to her tears, trembling all over and sobbing.

"You have left your work again!" she said. "How awful!"

"Do try to understand, sister!" I said, and because she cried I was filled with despair.

As though it were deliberately arranged, the paraffin in my little lamp ran out, and the lamp smoked and guttered, and the old hooks in the wall looked terrible and their shadows flickered.

"Spare us!" said my sister, rising up. "Father is in an awful state, and I am ill. I shall go mad. What will become of you?" she asked, sobbing and holding out her hands to me. "I ask you, I implore you, in the name of our dear mother, to go back to your work."

"I cannot, Cleopatra," I said, feeling that only a little more would make me give in. "I cannot."

"Why?" insisted my sister, "why? If you have not made it up with your chief, look for another place. For instance, why shouldn't you work on the railway? I have just spoken to Aniuta Blagovo, and she assures me you would be taken on, and she even promised to do what she could for you. For goodness sake, Misail, think! Think it over, I implore you!"

We talked a little longer and I gave in. I said that the thought of working on the railway had never come into my head, and that I was ready to try.

She smiled happily through her tears and clasped my hand, and still she cried, because she could not stop, and I went into the kitchen for paraffin.

Among the supporters of amateur theatricals, charity concerts, and tableaux vivants the leaders were the Azhoguins, who lived in their own house in Great Gentry house the Street. They used to lend their house and assume the necessary trouble and expense. They were a rich landowning family, and had about three thousand urskins , with a magnificent farm in the neighbourhood, but they did not care for village life and lived in the town summer and winter. The family consisted of a mother, a tall, spare, delicate lady, who had short hair, wore a blouse and a plain skirt à l'Anglais, and three daughters, who were spoken of, not by their names, but as the eldest, the middle, and the youngest; they all had ugly, sharp chins, and they were short–sighted, high–shouldered, dressed in the same style as their mother, had an unpleasant lisp, and yet they always took part in every play and were always doing something for charity—acting, reciting, singing. They were very serious and never smiled, and even in burlesque operettas they acted without gaiety and with a businesslike air, as though they were engaged in bookkeeping.

I loved our plays, especially the rehearsals, which were frequent, rather absurd, and noisy, and we were always given supper after them. I had no part in the selection of the pieces and the casting of the characters. I had to look after the stage. I used to design the scenery and copy out the parts, and prompt and make up. And I also had to look after the various effects such as thunder, the singing of a nightingale, and so on. Having no social position, I had no decent clothes, and during rehearsals had to hold aloof from the others in the darkened wings and shyly say nothing.

I used to paint the scenery in the Azhoguins' coach–house or yard. I was assisted by a house–painter, or, as he called himself, a decorating contractor, named Andrey Ivanov, a man of about fifty, tall and very thin and pale, with a narrow chest, hollow temples, and dark rings under his eyes, he was rather awful to look at. He had some kind of wasting disease, and every spring and autumn he was said to be on the point of death, but he would go to bed for a while and then get up and say with surprise: "I'm not dead this time!"

In the town he was called Radish, and people said it was his real name. He loved the theatre as much as I, and no sooner did he hear that a play was in hand than he gave up all his work and went to the Azhoguins' to paint scenery.

The day after my conversation with my sister I worked from morning till night at the Azhoguins'. The rehearsal was fixed for seven o'clock, and an hour before it began all the players were assembled, and the eldest, the middle, and the youngest Miss Azhoguin were reading their parts on the stage. Radish, in a long, brown overcoat with a scarf wound round his neck, was standing, leaning with his head against the wall, looking at the stage with a rapt expression. Mrs. Azhoguin went from guest to guest saying something pleasant to every one. She had a way of gazing into one's face and speaking in a hushed voice as though she were telling a secret.

"It must be difficult to paint scenery," she said softly, coming up to me. "I was just talking to Mrs. Mufke about prejudice when I saw you come in. Mon Dieu! All my life I have struggled against prejudice. To convince the servants that all their superstitions are nonsense I always light three candles, and I begin all my important business on the thirteenth."

The daughter of Dolyhikov, the engineer, was there, a handsome, plump, fair girl, dressed, as people said in our town, in Parisian style. She did not act, but at rehearsals a chair was put for her on the stage, and the plays did not begin until she appeared in the front row, to astonish everybody with the brilliance of her clothes. As coming from the metropolis, she was allowed to make remarks during rehearsals, and she did so with an affable, condescending smile, and it was clear that she regarded our plays as a childish amusement. It was said that she had studied singing at the Petersburg conservatoire and had sung for a winter season in opera. I liked her very much, and during rehearsals or the performance, I never took my eyes off her.

I had taken the book and began to prompt when suddenly my sister appeared. Without taking off her coat and hat she came up to me and said: